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Flint Westwood, the ex-Actor. Almost always trying to do something heroic or helpful and almost always failing. And not even failing spectacularly. The exception is when his life is in danger. Then he somehow always survives, even against impossible odds. He refuses to kill unless it is absolutely necessary. Remarkably, he managed to survived 2 years of HMRC/ARM service and never died or killed a human during that time. In fact, he had never killed a human in his entire life. That ended when he was forced to kill enemy UWM troops during Mission 17.

Average height, seems to have been a strong and handsome man in his youth. He still retains some of that strength and charm. He has brown eyes, long straight hair, a thick moustache and a short beard. His hair and facial hair have turned a grayish white from age.

Average height, seems to have been a strong and handsome man in his youth. He still retains some of that strength and charm. He has brown eyes, long straight hair, a thick moustache and a short beard. His hair and facial hair have turned a grayish white from age.

His lower legs have been replaced by robotic prosthetics, black muscles over gleaming chrome-like metal. The right side of his chest bears a large scar, from where he was hit by a gauss shell during the battle for Hephaestus.

He wears light brown trousers, a red shirt, a dark brown waistcoat and a cowboy hat.

He tries to remain happy and smiling, joking and laughing even in life or death situations, although he can be seen sad and contemplating when he thinks nobody is looking.

He is inside Gilgamesh the mobility battlesuit, a bulky and heavily armoured exoskeleton (although not as bulky and armoured as the standard model).

The battlesuit has been painted with... its hard to say. At first glance they appear to be nothing more then complex geometric shapes, almost mandala like, made of interlocking line segments that, they themselves are made of extremely small, honeycombed structures; like beams made of a fine lattice of black thread. The mandala shapes are oddly coloured with strange, unfamiliar shades, and the entire thing has the appearance, at a glance, of some kind of mad kaleidoscope of off yellows, queezy greens and painfully bright reds.

But there's something more to it. Quick glances are fine, but as soon as you start to focus on it, to actually look at the patterns, a feeling of distinct, powerful unease comes over you. The feeling rises into one of revulsion and fear almost just as fast and ends in a feeling of terror mixed with vertigo and physical illness. Looking at Gilgamesh even for short periods is physically and mentally painful.

On the battlesuit’s “head”, where one would expect the eyes to be (the upper part of the torso, since battlesuits lack heads), are two black unblinking orbs, a pair of cameyes. On its back are two giant rocket pods that allow it to fly.

Between the rocket pods is a huge, detachable, high tech generator, connected to an industrial mining laser with a thick cable. The mining laser has screw holes and dangling wires which give the impression it was hastily removed from a larger vehicle.

Something that looks like a black laser rifle the size of a man has fused with his battlesuit's arm. It's a long, smoothed, black object, almost like a laser rifle but with the corners smoothed and much larger and longer. It is split down the middle, revealing its silver innards and wires that connect to the battlesuit and interface with its systems. The weapon has a giant, partially enclosed grip and trigger at the back and a dial on the side just before the grip. The dial has no writing or numbers or anything; it just has faintly glowing coloured sections that it can click between. Red, orange, yellow Green, blue, indigo and Violet. It also has a No Colour setting. Choosing a colour causes the rifle to reshape and start glowing with that colour. It also causes the battlesuit's HUD to change colour and a pictogram related to the function of the weapon to appear in it.

The suit also carries a Universal Chemical Thrower, essentially a couple of pressurized containers, one larger than the other, that are connected with a trigger and firing mechanism meant to be used to fire various chemical substances at high speeds.

Completing the appearance of the walking armoury is a battlesuit-sized Containment Gun, a Thompson-shaped rifle with a very fat barrel that is tipped by three small metal bearings. The three metal bearings rotate at high speed whenever it is fired.

Finally, either on its hip or attached to one of the suit's weapons is what looks like a large metal stick, but upon closer inspection appears to be some sort of sliding blade mechanism, given to him by Dubley Steptimus. It looks both extremely functional and elegant, covered with intricate swirling designs. There is a small pickaxe engraved on the side. Strangely, when the mechanism is extended, the blade appears to be almost invisible, merely a distortion in the air where it's supposed to be, even though it appears capable of cutting almost anything.

From the battlesuit’s shoulder hangs a bag made out of cable and tarp, which jingles with all kinds of marginally useful crap.

The battlesuit's cockpit is decorated with a spiky semi-transparent sphere that rests inside an artefact container. The sphere is constantly giving off small amounts of light and heat. But whenever space magic is used nearby, the light and heat it gives off intensifies, to the point where it becomes blindingly bright when very powerful space magic is nearby. Flint calls it a bobblehead for some reason.

Even in the small space of Gilgamesh’s cockpit that barely leaves enough room for the user to interact with the various switches, screens and keyboards, he wears a grey MK2 spacesuit, a streamlined and less bulky version of the MK1.

From the right hip of his Mark 2 hangs a monoatomic razor, a scythe-like weapon made of dull grey metal with an on/off switch near the back. It has a taut, barely visible monofilament wire connecting the handle with the upper edge. When the weapon is activated in atmosphere, a quiet ominous hum can be heard, caused by the vibrating monofilament.

External generator and capacitor (Powerful enough to power the entire battlesuit and allow the rainbow cannon to fire in red mode for a second time. Can be linked with the battlesuit's power supply for an "ultimate attack")

External Generator and Capacitor: Auxiliary power source, provides power to the suit and its weapons (Mining Laser, Rainbow Cannon). The suit can switch to the external generator while its internal capacitor recharges or is being used by the Rainbow cannon. The external generator can be linked to the internal to provide the Rainbow cannon with even more power.

Emergency power cutoff: Allows the user to electronically (via the computer) or mechanically (via a switch, supersedes the computer) cut off power to the Rainbow Cannon.

Timed cutoff: Allows for only part of Gilgamesh's power to be used by shutting down power to the Rainbow cannon after some time or after energy levels fall below a selected threshold (needs to be declared one turn (or some time) beforehand to be used, can be overriden by overshoots or similar)

He is the proud owner of room 7734. The room is almost completely empty, save for a bottle of alcohol on his desk and a datapad in the footlocker under his desk, hidden under a few extra sets of clothes.

Flint was born to a family of farmers on the desert world of Christ III. He lost his mother to disease shortly after his birth. He left his home at an early age to escape from his self-destructive father. Flint searched for his fortune in the city. After doing several odd jobs, he was lucky enough to get a small part for an action film. From there, his career took off, leading to many years of successful movies. Most of the movies he played in and almost all forms of media on his homeworld were controlled by the oppressive Theocracy led by the Robopope. The Theocracy's origins data back to the Altered Wars and an Amp User who fought in them posing as a Prophet, thus its dogma saw almost all genetic modification as heresy and the ultimate evil. That was the reason his movies mostly revolved around killing lots of stereotypically evil biomonsters. Somewhere near the end of his career, he somehow chanced upon a community of genetically engineered humans who were living peacefully on the planet, hidden away from society.

As he approached the "golden age" of his life, Flint was a successful action movie actor known planet-wide. However as he got older and his publicity fell, he decided that before retiring off-world he would do one last film, this time a documentary about a peaceful community of genetically modified humans, portraying them in a positive light. His conscience compelled him to do it since most of his movies portrayed genetic modifications the ultimate evil. He gave the film to someone he thought he could trust, asking him to release it once he and his friends were safely off-world. Unfortunately, he was arrested shortly thereafter and after painful interrogation he revealed the location of the community, which was promptly eradicated (or so hew was told, anyway). The interrogation left his mind damaged, a cruel parting gift from his interrogator.

Anthony and Flint both stay behind on the Sword, jumping it halfway across the galaxy to an asteroid station somewhere in the dark space between the stars. There, in a massive subterranean structure, they find the computer core and memory of the AI known as Steve, along with the thousands of human brains which support his processing. They gathered everything they can, everything needed to rebuild Steve in another universe, and then carry it through to Hera.

They connect up with Miyamoto and Steve Saint, before the official creation of either the Guiding Hand or the Congregation Network, meeting on the recently colonized Hera just after the fall of the Artificial Moon. Here they disappear for several years, only to reemerge in Recursive Beast Universe as soon as Mesenchyme reaches a reasonable size. There they ally themselves with Dester, during his time as the leader of Mesenchyme, and embark on an expedition down the Tree-beast, along with Anton. Anton and most of the expedition team returns from this trip, but Anthony and Flint do not. Over the course of decades Anton makes dozens of trips down the Tree-beast, along with more men and supplies, and a sizable base is built down near the branching legs of the tree-beast.

Nearly 80 years after their trip to Steve's asteroid home, Flint and Anthony are seen one more time in Mesenchyme, meeting with dozens of other well known individuals, including Miyamoto, Charles, a robotic emissary of the Congregation Network, Anton, a very old looking Milno, and a barely visible cat creature. This group descended down the trunk of of the Tree-beast, towards the base far below. What they did and saw down there, we may never know.

Successfully macGyvered his way out of a life or death situation at the end of Mission 8, when he and Jobasio were trapped in a slowly falling Blackship. He managed to create a rocket out of the ship's RCS and fire extinguishing system. The rocket gave him and his partner enough flight time to be rescued by Miyamoto and Gilgamesh. Would have been really impressive if this wasn't his fault in the first place.

Defeated an Urban Executor in an honourable monoatomic razor duel. When he offered him the chance to surrender and live in peace with the ARM, the UE instead chose to dishonour himself and overload his Flesh Control amp in a last ditch attempt to kill Flint.